Trixi retweeted
POV: it's 3am in Miami and you're the guy buying cocktails for mermaids
Tested Seedance 2.5 on @makeugc. Costs $1 to try it yourself, setup in the replies 👇
Every group has three drinkers: the fun one, the sick one, and the one you never invite to the pool again.
Which one are you after two drinks?
Prompt:
Amateur vertical iPhone video, 9:16, filmed at 2am at a Miami hotel pool with the phone's harsh built-in flash, shaky handheld, grainy, slight motion blur, auto-exposure flicker, candid real home video look, not cinematic, no music. The man filming is kneeling on the pool edge, camera held at his chest height, about one and a half meters from them, centered and angled a little down at them, so we see their faces, the lit water surface around them and their tails under the water behind them; all three are fully in the frame side by side the whole time; the camera never moves to a side angle and never crops anyone out. Layout locked for the whole video: the three mermaids are in the water right in front of him, resting their forearms on the same pool edge side by side, floating low with the water up to their collarbones; on the edge in front of them stand three wide glasses of bright pink cocktail with ice, one in front of each mermaid, and in each glass stands a bunch of exactly five thin see-through colored straws: lime green straws in the LEFT one's glass, neon blue straws in the RIGHT one's glass, bright yellow straws in the CENTER one's glass; behind them the bright lit turquoise pool water, clear enough to see into, the far side of the pool, palm trees and dim hotel lights.
The creatures: three real mermaids. All three are beautiful Miami women with hugely overfilled, giant, glossy duck lips, so swollen and stiff they can barely open their mouths, clearly visible from the very first frame, long lashes, long almond acrylic nails, seashell bikini tops right at the waterline. It is obvious they are mermaids the whole time: under the clear lit turquoise water their long shimmering scaled fish tails are clearly visible stretching out behind them, each tail its own color. When a tail fin comes out of the water, it rises about two meters behind its owner, clearly separated from her head by open water; a tail fin never appears right behind or above anyone's head.
Realism: their faces look like real women filmed on a phone, not CGI, not dolls, not airbrushed. Real human skin with visible pores, fine baby hairs, tiny natural imperfections, natural skin sheen and water droplets under the harsh flash, light everyday makeup. Only the lips are exaggerated; everything else about the faces is natural and real.
Three clearly different women, not twins:
LEFT: tanned Latina with long dark-brown wet curly hair, small gold hoop earrings, nude-caramel glossy lips, emerald tail.
CENTER: light-tanned girl with platinum blonde hair slicked back wet into a high ponytail, soft pink glossy lips, pearl-white tail.
RIGHT: East Asian girl with a sleek wet black bob, rose-mauve glossy lips, deep blue tail.
The man's hand: the only male hand in the video is the man's own hand from the camera side: a big tanned masculine hand with hairy wrist, thick fingers and short nails. Each mermaid has only her own two hands; no extra hands appear.
Lips: the LEFT and RIGHT ones drink only through straws, so their lips stay clean and glossy the whole video. Only the CENTER one gets a few pink drops on her lips and chin, and only after her gulp at 8 seconds.
Water: the pool water stays clear turquoise everywhere until 9 seconds. Only then the water around the CENTER one turns pink, exactly as described below. The pink stays as one soft cloud around her, about a meter wide, and never fills the whole pool; the water around the LEFT and RIGHT ones and the rest of the pool stays clear turquoise.
Voices: they speak slowly with lazy, breathy voices, barely moving their giant stiff lips, teeth not visible.
Important: all three are alive and moving every second, eyes open: no one ever freezes, closes her eyes or stares blankly while another acts. They glance at each other, at the glasses and at the camera, react to each other with real, different, asynchronous movements. Each of the three reacts to the drink in her own completely different way, as described below; the two tails move in clearly different ways. Only the LEFT one giggles; the CENTER one never laughs or smiles.
0-2s: The flash hits all three faces at once, all three in frame, giant lips first thing you see. The man's hand pushes the CENTER one's glass a little closer to her and pulls back out of the frame before 2 seconds. The LEFT one picks up her own glass first, the other two watch her.
2-5s: The LEFT one puts the five lime green straws from her own glass between her giant lips and sucks: the pink cocktail visibly rises in all five green straws at once and the level in her glass drops fast. She puts the glass down. One second later her emerald tail fin bursts up out of the water two meters behind her and thrashes fast and wildly side to side, slapping the surface again and again and splashing water high. She giggles drunkenly, "hahaha", and sways with a dizzy happy look. The RIGHT one stares at the thrashing tail, the CENTER one watches with a flat face.
5-8s: The RIGHT one picks up her own glass, puts its five neon blue straws between her lips and sucks, the pink rising in all five blue straws, then puts the glass down. Right away she looks sick: her cheeks puff out, she presses her fingers over her lips, her eyes water, she swallows hard. Her deep blue tail rises slowly and heavily out of the water two meters behind her, slaps down hard once, rises again slowly, slaps down a second time, then flops limply onto the surface and slides back under. Next to her the LEFT one is still swaying and giggling quietly.
8-12s: The CENTER one pulls the five yellow straws out of her glass, drops them on the edge, and drinks the whole cocktail straight over the rim in one long gulp without stopping. She puts the empty glass down. Her face doesn't change at all, she just blinks once, her tail stays calm. Then, a second later, the clear turquoise water right around her slowly starts turning pink, the same bright pink as the cocktail, a soft pink cloud spreading out from her body through the water, and her pearl-white tail under the water slowly turns pink too. She keeps the same flat face. The LEFT one stops giggling and the RIGHT one, still holding her lips, both look down at the pink water spreading around her, then at her face, and both slide a little away from her along the edge, staying in the frame.
12-13s: The CENTER one slides her empty glass across the edge toward the camera with two fingers, without a word.
13-15s: Quiet held moment: the CENTER one looks straight into the lens with a flat, sober face, floating in her pink cloud of water, her tail pink under the surface; the LEFT and RIGHT ones a little further away from her on both sides, still in the frame, the LEFT one swaying slightly, the RIGHT one still a little sick, fingers near her lips, both side-eyeing the pink water. No one speaks.
Sound: pool filter hum, soft water splashes, ice clinking in the glasses, loud slurping through many straws, one long gulp, fast wild tail slapping and splashing from the LEFT one's tail, two slow heavy tail slaps from the RIGHT one's tail, drunken giggles from the LEFT one only, the glass sliding on stone, the man's quiet stunned breathing. Faces stay sharp and lit by the flash the whole time.
🤝 Paid partnership · 🤖 Made with AI
POV: it's 3am in Miami and you're the guy feeding a live octopus to mermaids
Tested Seedance 2.5 on @makeugc. Costs $1 to try it yourself, setup in the replies 👇
Menu so far: sushi, caviar, pasta. Tonight the food fought back.
Trick for faces that don't look plastic: describe the skin, not the beauty. Pores, baby hairs, water drops under the flash.
Prompt:
Amateur vertical iPhone video, 9:16, filmed at 2am at a Miami hotel pool with the phone's harsh built-in flash, shaky handheld, grainy, slight motion blur, auto-exposure flicker, candid real home video look, not cinematic, no music. The man filming is kneeling on the pool edge, camera low, head-on and centered, about one meter from their faces, wide enough that all three mermaids are fully in the frame side by side the whole time; the camera never moves to a side angle and never crops anyone out. Layout locked for the whole video: the three mermaids are in the water right in front of him, leaning on the same pool edge side by side; a small wet white plate with no ice on it and one live reddish-purple octopus, about the size of a hand, sits on the edge right in the center, directly in front of the CENTER mermaid; behind them the dark pool water, the far side of the pool, palm trees and dim hotel lights.
The creatures: three real mermaids leaning on the pool edge with their forearms. All three are beautiful Miami women with hugely overfilled, giant, glossy duck lips, so swollen and stiff they can barely open their mouths, clearly visible from the very first frame, long lashes, long almond acrylic nails. Each wears a seashell bikini top, a little cleavage visible just above the pool edge. Their shimmering fish tails stretch out in the water far behind them, so it is obvious they are mermaids. Tail fins only ever appear far behind them near the left or right edge of the frame; a tail fin never appears behind or above anyone's head.
Realism: their faces look like real women filmed on a phone, not CGI, not dolls, not airbrushed. Real human skin with visible pores, fine baby hairs, tiny natural imperfections, natural skin sheen and water droplets under the harsh flash, light everyday makeup. Only the lips are exaggerated; everything else about the faces is natural and real.
Three clearly different women, not twins, new faces:
LEFT: tanned Latina with long dark-brown wet curly hair, small gold hoop earrings, nude-caramel glossy lips, emerald tail.
CENTER: light-tanned girl with platinum blonde hair slicked back wet into a high ponytail, soft pink glossy lips, pearl-white tail.
RIGHT: East Asian girl with a sleek wet black bob, rose-mauve glossy lips, deep blue tail.
The man's hand: the only male hand in the video is the man's own hand from the camera side: a big tanned masculine hand with hairy wrist, thick fingers and short nails. Each mermaid has only her own two hands; no extra hands appear.
The octopus: there is exactly one octopus in the whole video; it never duplicates or splits. It moves slowly and softly like a real octopus, it never jumps. It stays whole and alive the entire video: its body is smooth and evenly reddish-purple all over at every moment, with no white spots, no pale patches and no missing pieces. Nothing white ever sticks to it.
Voices: they speak slowly with lazy, breathy voices, barely moving their giant stiff lips, teeth not visible.
Important: nobody laughs at any point. All three are alive and moving every second, eyes open: no one ever freezes, closes her eyes or stares blankly while another acts. They glance at each other, at the octopus and at the camera, shift their weight on the edge, react to each other with real, different, asynchronous movements.
0-2s: The flash hits all three faces at once, all three in frame, giant lips first thing you see. The man's hand pushes the plate with the live octopus a little closer to them and pulls back out of the frame before 2 seconds. The octopus slowly moves its tentacles on the wet plate. The CENTER one leans in to look at it and says slowly: "Is it alive?" The LEFT one wrinkles her nose, the RIGHT one leans closer, curious.
2-5s: The CENTER one leans her face low over the plate, very close to the octopus. The octopus lifts its tentacles, grabs onto her face and pulls itself up onto her mouth, its round body covering her giant lips, its tentacles spreading across her cheeks and chin. Her eyes go wide, she grabs the octopus with both hands. The LEFT one jerks back, the RIGHT one covers her own mouth with her hand, both watching.
5-8s: The CENTER one pulls the octopus away from her face with both hands; it stretches, holding on by suction, then comes off with a loud wet POP. She holds the whole, unharmed octopus up in the air in front of her, wriggling, its body smooth and evenly colored. Only now her lips change: they are visibly even bigger and puffier than before, glossy, slightly redder, with a faint ring of small round suction marks around her mouth. The other two still have their original lips and no marks.
8-11s: The CENTER one, still holding the octopus up in one hand, touches her new bigger lips with the fingertips of her other hand, eyes wide, then looks straight into the lens and says slowly, impressed: "Oh... I like it." The LEFT and RIGHT ones stare at her lips, then at each other, with open envy.
11-15s: The LEFT one takes the whole octopus out of the CENTER one's hand and presses it onto her own lips with both hands, holding it there, eyes open, looking at the camera over it. The RIGHT one reaches over and taps the LEFT one's shoulder impatiently and says slowly: "My turn." The CENTER one keeps touching her lips, pleased.
Sound: pool filter hum, water splashes, soft wet sounds of tentacles, one loud wet suction pop, lazy breathy voices, the man's quiet stunned breathing. No laughter. Faces stay sharp and lit by the flash the whole time.
Trixi retweeted
Seedance 2.5 just went unlimited on MakeUGC.
Unlimited videos, no per-generation cost
- 100/200 free credits
- Every model included
- 10 min processing per video Limited time only.
If you've got ad ideas sitting untested, nows the window.
Im also sending a prompt guide + template guide with it.
Comment GUIDE and Ill send all three 👇
Trixi retweeted
This is how a zombie reacts to my heroine’s superpowers 😂
Created by Genzo on @makeugc
Seedance refused to generate this, so I used Genzo. Which tool do you use to recreate trending videos?
WORKFLOW for recreating a trending video:
- Download the video you want to recreate.
- Open your AI video generator and add it as a video reference.
- Upload the same video to ChatGPT. Ask it to create a prompt that preserves the original music and character movements.
- Specify a new location and the characters you want to replace.
- Ask ChatGPT to generate two Pixar-style character reference images.
- Have ChatGPT update the prompt using those images.
- Add the prompt and both images to your video generator.
ALL YOU NEED:
- The original video
- Character reference 1
- Character reference 2
Prompt:
Photorealistic live-action dance video, VERTICAL 9:16, approximately 17.73 seconds. Match video1's duration, speed, choreography, camera, edits and music.
REFERENCES
video1 controls both dancers' movements, gestures, expressions, timing, positions, camera angles, framing, perspective, cuts and audio.
image1 replaces the nun with the male zombie. Copy his face, white eyes, hair, skin, proportions and complete outfit, including jacket, shirt, trousers and boots.
image2 replaces the background woman with this adult woman. Copy her face, athletic build, short pink-and-blue bob, hair clips, pink-and-white cropped top, pleated skirt, pink backpack and black boots with pink platforms and buckles.
image3 replaces the courtyard with this abandoned gas station: weathered canopy, reddish trim, columns, rusty pumps, hoses, deteriorated shop, cracked asphalt and dusty warm light.
PRIORITY
Video defines performance and cinematography. Character photos define identity and clothing, not fixed poses. Location photo defines surroundings and lighting, not camera framing.
ACTION
Transfer the nun's exact performance to the zombie and the background dancer's exact performance to the new woman. Preserve their separate choreography, finger gestures, head tilts, torso bends, expressions, steps and timing. Do not make different movements identical.
Follow the video throughout; these phases are orientation only:
0–3.5s: zombie close to the lens, woman behind. Copy gestures around the temples, spread fingers, head tilts and forward lean. Woman follows her original background choreography.
3.5–7s: zombie reaches toward the lens, curls fingers, draws hands toward his chin, lowers his head and returns hands to his head.
7–14s: copy hands-on-head movements, body tilts and facial changes. Woman continues her separate arm gestures.
14–16.1s: reproduce the wider full-body shot, zombie left and woman right. Copy overhead gestures, turns, arm movements, knee bends and weight shifts.
16.1s–end: reproduce the frontal framing change, remaining steps and hand movements through the original endpoint.
The video overrides approximate timing above. No added actions or zombie limping.
CAMERA AND LOCATION
Dance on the empty gas station forecourt. Preserve original performer spacing, foreground hand perspective, camera height, downward angle, movement and every cut. Keep architecture fixed across shots and render it with correct depth. Preserve full-body visibility in wider shots. No extra shots, zooms, slow motion or new ending.
REALISM
Real performers with cinematic zombie prosthetics, natural skin, hair and fabric. Match the location's warm hazy daylight and shadows. Natural skirt, jacket and backpack movement. Stable foot contact and believable weight transfer in the reference footwear. Consistent identities, clothes and accessories.
AUDIO
Preserve the exact original music and existing audio from video1, with the same starting point, tempo, pitch and synchronization. No replacement track, remix, added speech, growls or effects.
CONSTRAINTS
Exactly two dancers. No original costumes, nun veil, wooden fence, vehicles, extra people, magic, text or watermarks. No mixed identities, extra limbs, warped fingers, sliding feet or disappearing accessories.
🤝 Paid partnership · 🤖 Made with AI
This AI video turned a zombie apocalypse into a superhero playground.
Turns out, super strength makes a terrible day look fun.
Created by Seedance 2.5 on @makeugc
Prompt:
TELEKINETIC AWAKENING — ZOMBIE GAS STATION
A 30-second horizontal 16:9 photorealistic supernatural action scene. A young woman escapes a zombie-filled store at an abandoned wasteland gas station at dusk, her violet telekinetic power awakens, and she takes down EIGHTEEN zombies with seven moves: a mid-air freeze, a head-to-head collision, a barrel volley, a lifted car, a car-door shield and a shockwave. It ends with her walking alone down the empty road while the whole horde lies still behind her.
MAIN SUBJECT
The woman from Image1, an adult in her early twenties, East Asian, dark brown eyes. Hair: a choppy chin-length bob, hot pink at the roots fading to violet and bright blue at the tips, ONE small silver lightning-bolt clip on the left side. Outfit: a fitted pink-and-white sports crop top with white stripes; a pink pleated mini skirt with white inner pleats and two white stripes on the hem, with pink fitted shorts underneath; a pink backpack strapped tightly to her back with black buckle straps. Footwear: knee-high glossy black combat boots on chunky pink platform soles with pink straps, silver studs and metal rings. All fabric is dense, opaque and stays in place during every move. Athletic, toned build. Frightened at first, then cold and focused. Preserve her face, hair colour, outfit and boots EXACTLY as in Image1.
ZOMBIES
Adult men and women with grey, dusty skin, cloudy white eyes, matted hair and torn, faded, dusty clothes. Jerky, uneven movement, some lunging fast. No blood, no wounds.
LOCATION
An abandoned gas station on a desert road at dusk. Cracked asphalt lot about 40 metres wide. A small convenience store with shattered windows and a dark doorway on the left. TWO rusted fuel pumps 6 metres apart under a sagging metal canopy 5 metres high in the centre. FOUR rusted cars: CAR A, a grey sedan parked in the open lot 3 metres outside the canopy edge; CAR B, a brown hatchback near the store; CAR C, a rusted pickup beside the canopy; CAR D, a white van far out by the road. FOUR steel oil barrels stand in the open lot between the canopy and the road. Background: the empty road to the horizon and a ruined city skyline about 10 kilometres away under a heavy overcast sky. Wind blows sand and dust across the lot.
CAMERA AND LOOK
Photorealistic live-action action film, real stunt choreography. ONE light source: soft overcast dusk daylight with diffuse light, soft shadows, muted dusty palette. The only other light is the violet glow of her power reflecting on asphalt, glass and metal. Handheld shake, slight delayed autofocus, mild bloom, faint film noise. Shots last 1.5-2.5 seconds, cut after each completed move; the car lift is ONE continuous shot. No camera or crew in frame. No glossy beauty lighting, no heavy colour grading.
TELEKINESIS EFFECTS
Luminous violet energy with a deep purple edge. Thick slow purple smoke coils around her hands and forearms up to the elbow, thin electric arcs crackle between her fingers, tiny violet particles drift upward like embers. Anything she holds gets a thin glowing violet outline with short arcs and a faint air distortion, hangs with real weight and sheds dust. Each impact gives ONE sharp violet flash. Open palm to hold, fist to crush together, push to throw, palm on the ground for the shockwave. The energy stays on her hands and never recolours her hair or clothes.
CONTINUOUS STORY
00:00-00:03.5 — BREAKOUT
Start in motion: she bursts backward out of the dark store doorway, facing inside, as a zombie's hand grabs her wrist from the darkness. She twists free and falls onto the asphalt. Low wide shot: TWO zombies vault over the hood of CAR B toward her and land heavily. She scrambles back on her hands until her back hits the first fuel pump.
00:03.5-00:07 — FROZEN IN THE AIR (zombie 1)
The zombie from the store follows her out and leaps at her face. She throws up ONE open palm; violet sparks explode into smoke and arcs around her forearm, and the zombie freezes in mid-air 1 metre from her face. Close-up: looking at it, her fear turning cold, she says quietly: "Not today." She flicks her wrist; the zombie flies 10 metres back into the store wall, cracks the stucco and drops.
00:07-00:10 — HEAD TO HEAD (zombies 2-3)
She rises to her feet. The TWO zombies who vaulted CAR B rush her from left and right. She clenches her fist; both are jerked toward each other, collide head to head with a dull thud and fall.
00:10-00:15 — BARREL VOLLEY (zombies 4-7)
She walks out to the edge of the canopy. FOUR zombies stagger toward her from the road. She spreads both arms: the FOUR barrels rise together and hang in a row at chest height, glowing violet. She pushes both palms forward in ONE motion; all four barrels fly at once and knock all FOUR zombies flat, clanging and rolling. She stays at the canopy edge, CAR A 3 metres to her right, breathing hard: a tight group of SIX zombies runs out from behind CAR D toward her, and ONE more crawls to the edge of the canopy roof above her.
00:15-00:20 — THE CAR (ONE continuous shot, zombies 8-13)
Three-quarter wide shot keeping her boots, CAR A and the zombies in frame: she plants her feet and raises both hands, and CAR A lifts off the ground, glowing violet; the wheels hang loose, sand and rust pour from its underside, and the asphalt cracks under her boots. The car rises to 3 metres in the open air outside the canopy. She swings both arms in a flat arc across her front; the car sweeps through the group and knocks all SIX zombies off their feet, then lands on its roof in the open lot, rolls once and stops on its side, glass bursting out.
00:20-00:23.5 — DOOR SHIELD (zombie 14)
The zombie on the canopy roof leaps down at her from 5 metres. In the same moment she jerks her hand toward CAR C; its driver's door rips off its hinges with a metal shriek and stops 1 metre in front of her, upright, as a glowing violet shield. The falling zombie slams into the door and bounces onto the asphalt; she pushes forward and the door drops flat on top of it, pinning it. In the background, FOUR zombies come out of the store doorway.
00:23.5-00:27.5 — SHOCKWAVE AND VORTEX (zombies 15-18)
The FOUR zombies from the store surround her at arm's length. She drops into a crouch and slams one palm onto the asphalt: a low ring of violet light and air distortion bursts outward and throws all FOUR zombies 5 metres away onto their backs. As she stands, broken glass, sand and small debris rise around her into a glowing violet vortex at waist height. She opens her hand and everything drops at once.
00:27.5-00:30 — WALK AWAY
Medium side shot: she turns her head toward the defeated horde, face in clear profile, and says flatly: "Stay down." Wide shot from behind: she takes a few steps away down the empty road past CAR A lying on its side, pink backpack and platform boots clearly visible, violet smoke fading from her fingers, the ruined skyline ahead.
DIALOGUE
Two short lines in English, calm and low, never to the camera: "Not today." at 00:05 to the frozen zombie, "Stay down." at 00:28 in profile to the defeated zombies. No other speech.
SOUND
Natural and event-driven: glass crunching at the doorway, zombie groans and snarls, her fast breathing, feet landing on the car hood, a deep rumble and electric crackle as the energy appears, a low hum while she holds objects, the thud against the store wall, the double thud of the collision, four barrels clanging, the car's metal groaning, sand pouring, the crash and glass bursting, the door ripping off its hinges and the zombie slamming into it, a heavy low boom for the shockwave, the rush of the vortex and glass falling, wind and her footsteps at the end. No music, no narration.
ESSENTIAL CONTINUITY
- Order: breakout, frozen zombie, collision, barrel volley, car, door shield, shockwave and vortex, walk away.
- EIGHTEEN zombies total: 1 from the store, 2 car vaulters, 4 from the road (barrels), 6 from CAR D (car), 1 from the canopy roof (door), 4 from the store doorway (shockwave). Each is knocked down ONCE and stays down. No other zombies appear.
- She never touches lifted objects or zombies with her hands. Lifted objects have real weight and gravity, no clipping; CAR A never hits the canopy, pillars or pumps.
- The store wall stays cracked, the barrels stay scattered, CAR A stays on its side, the door from CAR C stays on the pinned zombie.
- Violet energy only on her hands and forearms, on held objects, in impact flashes, in the shockwave and in the vortex.
- Preserve her face, hair, outfit and footwear exactly as in Image1 throughout.
No slow motion, teleportation, duplicated people, flying heroine, extra dialogue, talking to camera, changing outfits, changing hair colour, lost backpack, extra limbs, distorted hands, guns, blood, gore, explosions, fire, cartoon or anime style, captions, subtitles, readable signs, watermarks.
#zombies #aivideo
Trixi retweeted
This AI video is an absolute Pixar masterpiece💕.
Below, I’ve outlined how to create any trending video.
Created using Genzo on @makeugc.
WORKFLOW:
- Download this video.
- Open your AI generator.
- Upload the video as a reference.
- Upload the video to ChatGPT and ask it to write a prompt based on this reference, keeping the music and character movements.
- Ask it to change the location and replace the characters.
- Ask ChatGPT to generate 2 images in a Pixar style.
- Ask ChatGPT to rewrite the prompt incorporating these new references.
ALL YOU NEED:
- Reference video
- Reference image 1
- Reference image 2
OR, use my prompt and add the 2 reference images.
🔖Save this to use later while the trend is still relevant!
PROMPT:
Use video1 as the source video. Replace only the two characters and their clothing using image1 for the dancing daughter and image2 for the father filming her. Preserve the original movements, timing, location, camera work, framing, music, and other audio.
REFERENCES
video1: Master reference for choreography, duration, aspect ratio, expressions, interactions, camera work, environment, lighting, and original soundtrack.
image1: Exact appearance and clothing of the daughter.
image2: Exact appearance and clothing of the father.
CHARACTER REPLACEMENT
Replace the original girl with the daughter from image1. Preserve her face, brown eyes, skin tone, chestnut ponytail, loose face-framing strands, stylized proportions, mint-green dress with white collar and front pockets, white socks, and white sneakers.
Replace the original man with the father from image2. Preserve his face, brown eyes, skin tone, swept brown hair, short beard, build, cream knitted sweater, dark charcoal trousers, dark sneakers with white soles, and wristwatch. Do not add the original man's sunglasses.
Use both images only for character appearance and clothing. Do not copy their standing poses, studio lighting, or neutral backgrounds. Adapt the new characters to the original actions and hallway lighting.
MOVEMENTS AND TIMING
Follow video1 throughout the entire sequence. Preserve the daughter's dance choreography, including the order, direction, timing, and speed of her steps, arm gestures, knee bends, leg lifts, body tilts, and turns. Match her changing expressions and gaze to the source performance.
Preserve the father's crouching posture, leg movements, smiles, reactions, body adjustments, and phone-handling actions. He films his daughter with the original black smartphone held vertically, its rear camera facing her and its screen facing him.
Keep the original character positions, relative scale, distance between them, and movement paths. Reproduce interactions as shown without adding new gestures, touches, or dance moves. Let the daughter's ponytail and dress move naturally in response to her actions.
LOCATION AND CAMERA
Keep the source hallway unchanged: wooden floor, walls, doorways, background furnishings, ceiling light, warm illumination, shadows, and reflections.
Preserve the original vertical 9:16 format and approximately 14.1-second duration. Follow the source camera height, angle, perspective, framing, movement, and editing exactly. Do not add cuts, close-ups, zooms, or camera shake.
VISUAL STYLE
Maintain the polished stylized 3D animated family-film appearance of the character references and source video. Integrate the replacement characters into the original lighting, color palette, and depth of field. Preserve detailed hair, knitted fabric, dress texture, natural cloth motion, grounded feet, and convincing body weight.
ORIGINAL MUSIC AND AUDIO
Keep the exact original music from video1 throughout the clip, with the same timing, rhythm, tempo, and synchronization to the dance.
Preserve any other existing source audio.
Do not replace, remix, regenerate, or reinterpret the soundtrack.
Do not add music, dialogue, voice-over, or sound effects.
CONTINUITY
Only the characters' appearance and clothing change. Everything else follows video1.
Keep the same daughter and father throughout, with stable faces, hairstyles, proportions, clothing, and accessories.
Preserve the original smartphone and its movement, orientation, and grip.
Maintain continuous positions and actions between frames.
CONSTRAINTS
No additional characters or props.
No appearance changes or wardrobe changes.
No duplicated limbs, extra fingers, sliding feet, floating objects, or body intersections.
No neutral studio background.
No captions, logos, or ending titles.
No slow motion, retiming, new choreography, or altered ending.
🤝 Paid partnership · 🤖 Made with AI
This AI video is an absolute Pixar masterpiece💕.
Below, I’ve outlined how to create any trending video.
Created using Genzo on @makeugc.
WORKFLOW:
- Download this video.
- Open your AI generator.
- Upload the video as a reference.
- Upload the video to ChatGPT and ask it to write a prompt based on this reference, keeping the music and character movements.
- Ask it to change the location and replace the characters.
- Ask ChatGPT to generate 2 images in a Pixar style.
- Ask ChatGPT to rewrite the prompt incorporating these new references.
ALL YOU NEED:
- Reference video
- Reference image 1
- Reference image 2
OR, use my prompt and add the 2 reference images.
🔖Save this to use later while the trend is still relevant!
PROMPT:
Use video1 as the source video. Replace only the two characters and their clothing using image1 for the dancing daughter and image2 for the father filming her. Preserve the original movements, timing, location, camera work, framing, music, and other audio.
REFERENCES
video1: Master reference for choreography, duration, aspect ratio, expressions, interactions, camera work, environment, lighting, and original soundtrack.
image1: Exact appearance and clothing of the daughter.
image2: Exact appearance and clothing of the father.
CHARACTER REPLACEMENT
Replace the original girl with the daughter from image1. Preserve her face, brown eyes, skin tone, chestnut ponytail, loose face-framing strands, stylized proportions, mint-green dress with white collar and front pockets, white socks, and white sneakers.
Replace the original man with the father from image2. Preserve his face, brown eyes, skin tone, swept brown hair, short beard, build, cream knitted sweater, dark charcoal trousers, dark sneakers with white soles, and wristwatch. Do not add the original man's sunglasses.
Use both images only for character appearance and clothing. Do not copy their standing poses, studio lighting, or neutral backgrounds. Adapt the new characters to the original actions and hallway lighting.
MOVEMENTS AND TIMING
Follow video1 throughout the entire sequence. Preserve the daughter's dance choreography, including the order, direction, timing, and speed of her steps, arm gestures, knee bends, leg lifts, body tilts, and turns. Match her changing expressions and gaze to the source performance.
Preserve the father's crouching posture, leg movements, smiles, reactions, body adjustments, and phone-handling actions. He films his daughter with the original black smartphone held vertically, its rear camera facing her and its screen facing him.
Keep the original character positions, relative scale, distance between them, and movement paths. Reproduce interactions as shown without adding new gestures, touches, or dance moves. Let the daughter's ponytail and dress move naturally in response to her actions.
LOCATION AND CAMERA
Keep the source hallway unchanged: wooden floor, walls, doorways, background furnishings, ceiling light, warm illumination, shadows, and reflections.
Preserve the original vertical 9:16 format and approximately 14.1-second duration. Follow the source camera height, angle, perspective, framing, movement, and editing exactly. Do not add cuts, close-ups, zooms, or camera shake.
VISUAL STYLE
Maintain the polished stylized 3D animated family-film appearance of the character references and source video. Integrate the replacement characters into the original lighting, color palette, and depth of field. Preserve detailed hair, knitted fabric, dress texture, natural cloth motion, grounded feet, and convincing body weight.
ORIGINAL MUSIC AND AUDIO
Keep the exact original music from video1 throughout the clip, with the same timing, rhythm, tempo, and synchronization to the dance.
Preserve any other existing source audio.
Do not replace, remix, regenerate, or reinterpret the soundtrack.
Do not add music, dialogue, voice-over, or sound effects.
CONTINUITY
Only the characters' appearance and clothing change. Everything else follows video1.
Keep the same daughter and father throughout, with stable faces, hairstyles, proportions, clothing, and accessories.
Preserve the original smartphone and its movement, orientation, and grip.
Maintain continuous positions and actions between frames.
CONSTRAINTS
No additional characters or props.
No appearance changes or wardrobe changes.
No duplicated limbs, extra fingers, sliding feet, floating objects, or body intersections.
No neutral studio background.
No captions, logos, or ending titles.
No slow motion, retiming, new choreography, or altered ending.
🤝 Paid partnership · 🤖 Made with AI
Trixi retweeted
This AI video turned a zombie apocalypse into a superhero playground.
Turns out, super strength makes a terrible day look fun.
Created by Seedance 2.5 on @makeugc
Prompt:
TELEKINETIC AWAKENING — ZOMBIE GAS STATION
A 30-second horizontal 16:9 photorealistic supernatural action scene. A young woman escapes a zombie-filled store at an abandoned wasteland gas station at dusk, her violet telekinetic power awakens, and she takes down EIGHTEEN zombies with seven moves: a mid-air freeze, a head-to-head collision, a barrel volley, a lifted car, a car-door shield and a shockwave. It ends with her walking alone down the empty road while the whole horde lies still behind her.
MAIN SUBJECT
The woman from Image1, an adult in her early twenties, East Asian, dark brown eyes. Hair: a choppy chin-length bob, hot pink at the roots fading to violet and bright blue at the tips, ONE small silver lightning-bolt clip on the left side. Outfit: a fitted pink-and-white sports crop top with white stripes; a pink pleated mini skirt with white inner pleats and two white stripes on the hem, with pink fitted shorts underneath; a pink backpack strapped tightly to her back with black buckle straps. Footwear: knee-high glossy black combat boots on chunky pink platform soles with pink straps, silver studs and metal rings. All fabric is dense, opaque and stays in place during every move. Athletic, toned build. Frightened at first, then cold and focused. Preserve her face, hair colour, outfit and boots EXACTLY as in Image1.
ZOMBIES
Adult men and women with grey, dusty skin, cloudy white eyes, matted hair and torn, faded, dusty clothes. Jerky, uneven movement, some lunging fast. No blood, no wounds.
LOCATION
An abandoned gas station on a desert road at dusk. Cracked asphalt lot about 40 metres wide. A small convenience store with shattered windows and a dark doorway on the left. TWO rusted fuel pumps 6 metres apart under a sagging metal canopy 5 metres high in the centre. FOUR rusted cars: CAR A, a grey sedan parked in the open lot 3 metres outside the canopy edge; CAR B, a brown hatchback near the store; CAR C, a rusted pickup beside the canopy; CAR D, a white van far out by the road. FOUR steel oil barrels stand in the open lot between the canopy and the road. Background: the empty road to the horizon and a ruined city skyline about 10 kilometres away under a heavy overcast sky. Wind blows sand and dust across the lot.
CAMERA AND LOOK
Photorealistic live-action action film, real stunt choreography. ONE light source: soft overcast dusk daylight with diffuse light, soft shadows, muted dusty palette. The only other light is the violet glow of her power reflecting on asphalt, glass and metal. Handheld shake, slight delayed autofocus, mild bloom, faint film noise. Shots last 1.5-2.5 seconds, cut after each completed move; the car lift is ONE continuous shot. No camera or crew in frame. No glossy beauty lighting, no heavy colour grading.
TELEKINESIS EFFECTS
Luminous violet energy with a deep purple edge. Thick slow purple smoke coils around her hands and forearms up to the elbow, thin electric arcs crackle between her fingers, tiny violet particles drift upward like embers. Anything she holds gets a thin glowing violet outline with short arcs and a faint air distortion, hangs with real weight and sheds dust. Each impact gives ONE sharp violet flash. Open palm to hold, fist to crush together, push to throw, palm on the ground for the shockwave. The energy stays on her hands and never recolours her hair or clothes.
CONTINUOUS STORY
00:00-00:03.5 — BREAKOUT
Start in motion: she bursts backward out of the dark store doorway, facing inside, as a zombie's hand grabs her wrist from the darkness. She twists free and falls onto the asphalt. Low wide shot: TWO zombies vault over the hood of CAR B toward her and land heavily. She scrambles back on her hands until her back hits the first fuel pump.
00:03.5-00:07 — FROZEN IN THE AIR (zombie 1)
The zombie from the store follows her out and leaps at her face. She throws up ONE open palm; violet sparks explode into smoke and arcs around her forearm, and the zombie freezes in mid-air 1 metre from her face. Close-up: looking at it, her fear turning cold, she says quietly: "Not today." She flicks her wrist; the zombie flies 10 metres back into the store wall, cracks the stucco and drops.
00:07-00:10 — HEAD TO HEAD (zombies 2-3)
She rises to her feet. The TWO zombies who vaulted CAR B rush her from left and right. She clenches her fist; both are jerked toward each other, collide head to head with a dull thud and fall.
00:10-00:15 — BARREL VOLLEY (zombies 4-7)
She walks out to the edge of the canopy. FOUR zombies stagger toward her from the road. She spreads both arms: the FOUR barrels rise together and hang in a row at chest height, glowing violet. She pushes both palms forward in ONE motion; all four barrels fly at once and knock all FOUR zombies flat, clanging and rolling. She stays at the canopy edge, CAR A 3 metres to her right, breathing hard: a tight group of SIX zombies runs out from behind CAR D toward her, and ONE more crawls to the edge of the canopy roof above her.
00:15-00:20 — THE CAR (ONE continuous shot, zombies 8-13)
Three-quarter wide shot keeping her boots, CAR A and the zombies in frame: she plants her feet and raises both hands, and CAR A lifts off the ground, glowing violet; the wheels hang loose, sand and rust pour from its underside, and the asphalt cracks under her boots. The car rises to 3 metres in the open air outside the canopy. She swings both arms in a flat arc across her front; the car sweeps through the group and knocks all SIX zombies off their feet, then lands on its roof in the open lot, rolls once and stops on its side, glass bursting out.
00:20-00:23.5 — DOOR SHIELD (zombie 14)
The zombie on the canopy roof leaps down at her from 5 metres. In the same moment she jerks her hand toward CAR C; its driver's door rips off its hinges with a metal shriek and stops 1 metre in front of her, upright, as a glowing violet shield. The falling zombie slams into the door and bounces onto the asphalt; she pushes forward and the door drops flat on top of it, pinning it. In the background, FOUR zombies come out of the store doorway.
00:23.5-00:27.5 — SHOCKWAVE AND VORTEX (zombies 15-18)
The FOUR zombies from the store surround her at arm's length. She drops into a crouch and slams one palm onto the asphalt: a low ring of violet light and air distortion bursts outward and throws all FOUR zombies 5 metres away onto their backs. As she stands, broken glass, sand and small debris rise around her into a glowing violet vortex at waist height. She opens her hand and everything drops at once.
00:27.5-00:30 — WALK AWAY
Medium side shot: she turns her head toward the defeated horde, face in clear profile, and says flatly: "Stay down." Wide shot from behind: she takes a few steps away down the empty road past CAR A lying on its side, pink backpack and platform boots clearly visible, violet smoke fading from her fingers, the ruined skyline ahead.
DIALOGUE
Two short lines in English, calm and low, never to the camera: "Not today." at 00:05 to the frozen zombie, "Stay down." at 00:28 in profile to the defeated zombies. No other speech.
SOUND
Natural and event-driven: glass crunching at the doorway, zombie groans and snarls, her fast breathing, feet landing on the car hood, a deep rumble and electric crackle as the energy appears, a low hum while she holds objects, the thud against the store wall, the double thud of the collision, four barrels clanging, the car's metal groaning, sand pouring, the crash and glass bursting, the door ripping off its hinges and the zombie slamming into it, a heavy low boom for the shockwave, the rush of the vortex and glass falling, wind and her footsteps at the end. No music, no narration.
ESSENTIAL CONTINUITY
- Order: breakout, frozen zombie, collision, barrel volley, car, door shield, shockwave and vortex, walk away.
- EIGHTEEN zombies total: 1 from the store, 2 car vaulters, 4 from the road (barrels), 6 from CAR D (car), 1 from the canopy roof (door), 4 from the store doorway (shockwave). Each is knocked down ONCE and stays down. No other zombies appear.
- She never touches lifted objects or zombies with her hands. Lifted objects have real weight and gravity, no clipping; CAR A never hits the canopy, pillars or pumps.
- The store wall stays cracked, the barrels stay scattered, CAR A stays on its side, the door from CAR C stays on the pinned zombie.
- Violet energy only on her hands and forearms, on held objects, in impact flashes, in the shockwave and in the vortex.
- Preserve her face, hair, outfit and footwear exactly as in Image1 throughout.
No slow motion, teleportation, duplicated people, flying heroine, extra dialogue, talking to camera, changing outfits, changing hair colour, lost backpack, extra limbs, distorted hands, guns, blood, gore, explosions, fire, cartoon or anime style, captions, subtitles, readable signs, watermarks.
#zombies #aivideo
🤝 Paid partnership · 🤖 Made with AI
This AI video demonstrates that even a poor generation can be fixed with music.
Seedance 2.5 on @makeugc
Prompt:
FORMAT
20 seconds, horizontal 16:9. A cinematic live-action fantasy sequence at an old riverside watermill. A horned young man protects his puppy during an ambush. When he falls, the puppy returns the favor. Fast physical action at real speed, followed by a quiet ending. No dialogue, captions or titles.
PHOTO REFERENCES
image1 defines the young man. Match his face, complexion, hair, ears, both horns and their individual colors, costume, belt, accessories and boots. Preserve the placement of each horn relative to his own head.
image2 shows the same three-eyed Dalmatian in two forms. The small dog on the left is the puppy seen at the beginning and end. The giant dog on the right is its transformed body. Match the build, face, coat, ears, paws and three-eye arrangement of each form. The central forehead eye glows blue immediately before the first transformation. Only one dog exists in the scene.
CINEMATIC LOOK
Make this feel like a finished scene from a big-budget live-action fantasy film. A real actor photographed on a weathered mill set. The creatures share his light, lens perspective, contact shadows and interaction with the ground. Horizontal cinema composition, natural 24 fps movement, fine restrained grain, soft highlight roll-off and believable motion blur. Use a moderately wide 32 mm perspective for the action. Keep the relevant feet, contact points and landing surfaces readable. Move closer for the ending.
Late dusk. Cool skylight reflected off the river illuminates the wet landing. A warm oil lantern beside the mill doorway grazes the young man's face, hair and costume. The dark mill wall separates the pale fur from the background. Show damp wood fibers, dull iron nails, droplets caught in fur and grit pressed into the grooves of the basilisk's armor. The blue flame briefly lights nearby skin, stone and scales. Preserve detail in the white fur. Camera movement follows the actors with the weight of a human-operated cinema camera. Use a brief reactive movement at the plank rupture, then hold steady enough to read the fight.
SET AND BLOCKING
A short wooden walkway approaches a broad stone loading platform from upstream. The river runs along one side of the platform. The mill wall runs parallel to it on the opposite side. A recessed doorway opens near the upstream end of the wall. A waterwheel turns several meters downstream, beyond the platform.
The platform is wide enough for the transformed dog to land, plant all four paws and push. During the fight the puppy starts at the doorway, the basilisk is near the middle, and the boy falls farther downstream beside the wall. This leaves an open lane from the doorway across the basilisk's flank toward the river. Establish these positions visually before the puppy jumps. Maintain screen direction across cuts.
BASILISK
A heavy, six-legged reptile roughly the length of a large crocodile. Broad wedge-shaped skull, low belly, muscular tail, overlapping dark armor plates. Its six legs support its weight. Its torso and hips bend as it turns. Wet claws find purchase on rough stone and slip where the surface is smooth. The giant Dalmatian is tall enough to place a shoulder beneath the raised side rim of its armor.
TIMELINE
0.0-3.5 | Something under the boards
Begin with the boy and puppy already on the final section of the walkway, one step from the stone platform. Frame them together. The puppy flinches at a metallic tick. A nail jumps beside its paw and the board directly behind it buckles upward. The boy immediately scoops up the puppy and bounds onto the stone. As his boots land, the basilisk's skull bursts through the boards they just left. Capture the escape and eruption in the same moving shot. Broken timber drops into the current. The doorway is within arm's reach.
3.5-7.5 | One bite, one tail strike
The boy sets the puppy in the doorway recess. The basilisk hauls itself onto the upstream end of the platform and lunges toward him. He dodges downstream along the wall. The jaws snap shut behind his shoulder. The creature pivots to follow him. Its hips rotate and its trailing tail sweeps low, catching him once behind the ankles. Show the tail contact and his fall together. He lands on his side beside the wall, downstream of the doorway.
The basilisk finishes its turn with its head pointing downstream toward the fallen boy. Its body is roughly parallel to the river, several meters from the drop. Its landward flank now faces the puppy. For a brief beat, show all three positions: the puppy at the doorway, the basilisk side-on ahead of it, and the boy clear of the puppy's attack line.
7.5-10.0 | The puppy transforms in the leap
One continuous lateral three-quarter shot through takeoff, transformation, contact and landing. The puppy's central eye flashes blue. Two quick strides out of the doorway. Its hind paws push off the stone while it is still visibly small. Frame its airborne silhouette against the lighter river beyond the platform.
Immediately after takeoff, tight blue flame races from its forehead down its back. In less than half a second its chest expands, legs thicken and paws broaden into the giant form from image2. The flame follows the contours of the growing body so the audience sees the transformation itself. Its center of mass keeps moving forward along one uninterrupted arc. It reaches full size before contact.
Both forepaws strike the basilisk's landward shoulder together in one impact. The blow knocks the jaws sideways, away from the boy. The dog's forepaws come off the armor and meet the stone, followed by its hind paws. Its elbows and hocks flex under its weight. The basilisk staggers toward the river but remains on the platform. The dog lands on the landward side with stone still ahead of it. No cut or slow motion during the leap.
10.0-15.0 | The shove into the river
The basilisk spreads its legs to regain traction. The dog is already standing against its exposed flank. It lowers one shoulder beneath the side armor, spreads its hind paws and drives forward. This second action is a sustained push from the ground. Show the hind legs working, the basilisk's claws dragging and the distance to the edge closing.
The basilisk's river-side feet slip over the lip. Its heavy torso tips sideways and the remaining claws tear free. As its weight goes over, the dog breaks contact and braces on the stone. Hold wide enough to see the dog stop on the bank as the basilisk hits the river below. Water splashes up over the dog's chest. The current pulls the armored back downstream past the wheel. The boy stays on the ground beside the wall throughout the shove.
15.0-20.0 | The hand on its head
As the splash falls, the boy pushes himself into a seated position against the wall. The giant dog turns and crosses the short distance back to him. It lowers its head into his waiting palm.
Move into a medium two-shot at the seated boy's height. His hand rests between the dog's ears. A low blue flame travels down its back as its body smoothly contracts into the original puppy. His hand follows its head down. Tilt gently with the movement, keeping the changing head size and his fingers visible together. Once small, the puppy shakes the river droplets from its coat. The boy blinks as the spray hits his face, then smiles. End on that reaction.
AUDIO AND CONTINUITY
Establish running water and the uneven wooden knock of the wheel. Let the small metallic nail tick precede the loud plank rupture. Give each physical event a distinct sound: snapping jaws, the low tail sweep, boots scraping stone, the brief rush of blue flame, one heavy landing, claws grinding across the platform, then the splash. Let the wheel and close breathing return in the final moment.
The walkway remains broken. The boy stays down until the basilisk falls into the river. The puppy leaves the doorway once. The dog remains giant from its airborne transformation until the boy touches its head. Its coat is wet from the splash when it returns to him. Keep the fight free of arena imagery, spectators, cages and weapons.
🤝 Paid partnership · 🤖 Made with AI
Trixi retweeted
This AI video drops modern tech into ancient Egypt
And the scariest part is how normal it looks.
Created by Seedance 2.5 on @makeugc
Prompt
20 seconds, horizontal 16:9. A photorealistic live-action comedy montage consisting of exactly SIX separate vignettes. Ancient Egyptians casually use modern technology as if it has always existed.
Six shots total, in the exact order below. Each vignette is ONE continuous shot, with hard cuts only at 00:03, 00:06, 00:09, 00:12 and 00:16. No transitions or additional shots. Begin each scene with the characters already positioned for its action. Show one clear gag, then cut after its payoff. Normal real-time movement, no slow motion.
CHARACTERS
Egyptian men: adults aged 25-45, olive-to-brown skin, dark eyes with black kohl, shaved heads or blue-and-gold striped nemes headdresses. Bare chests, white linen knee-length shendyt kilts and brown leather sandals. Real human actors with natural proportions.
Queen, scene 3 only: approximately 28, olive skin, dark almond-shaped eyes, black shoulder-length bob with a blunt fringe, dramatic black eyeliner, turquoise eyeshadow. Thin gold diadem with a small upright cobra, broad gold-and-lapis collar, gold upper-arm cuffs and gold sandals. Fitted ankle-length white pleated linen dress. Calm regal expression. Both hands stay on the jet ski handlebars.
Market woman, scene 4 only: approximately 35, long thin black braids reaching her shoulder blades, kohl eyeliner, plain ankle-length white linen dress, leather sandals. Turquoise-and-gold beaded collar with a gold scarab pendant hanging at upper-chest height. Visibly different from the queen.
Mummy, scene 6 only: adult human figure completely wrapped in aged beige-grey linen bandages, with small frayed ends and dark gaps at the eyes. No exposed face.
All fabric is opaque and securely fitted. Preserve each character's appearance and clothing within their scene.
SETTING
Ancient Egypt during its flourishing period. Stone temples, painted columns, palms, the Nile, working animals and ancient market stalls. Completed monuments look maintained and freshly finished. Scene 2 is an active construction site with unfinished stonework.
No modern architecture, roads, cables, tourists or modern background clothing.
Exactly one visible modern device in each scene:
1. Electric scooter.
2. Forklift.
3. Jet ski.
4. Payment terminal.
5. Cordless leaf blower.
6. Smartphone.
The scarab pendant contains an invisible NFC chip but looks entirely ancient. No additional visible modern accessories or devices. All modern devices are unbranded.
LOOK AND CAMERA
Realistic cinema-camera footage with restrained handheld documentary character. Subtle hand movement, natural motion blur, slight grain, realistic skin pores, sweat, linen fibres, weathered wood and stone dust. Prioritize clear readable actions and stable object shapes. No deliberate focus hunting during a gag.
Outdoor scenes share hard midday sunlight, a clear sky, short shadows and natural reflected light from sand, stone and water. The market awning creates believable shade. Natural colours, restrained contrast, no glossy commercial lighting.
The tomb is illuminated only by one clay oil lamp and the smartphone while its screen is on. Expose the image so the mummy's final movement remains visible in the lamp light.
Camera operators and filming equipment never appear.
TIMELINE
00:00-00:03 | ELECTRIC SCOOTER
One side three-quarter tracking shot at waist height on a stone-paved avenue lined with two rows of ram-headed sphinxes. A temple pylon stands in the distance.
At the opening, a man wearing a nemes headdress is already riding a matte-black electric kick scooter toward screen right. Both feet are on the deck and both hands hold the handlebars. The scooter travels at a brisk but controlled speed over closely fitted paving stones.
He overtakes a walking man leading a camel on the right side of the avenue, leaving a clear safe gap. The camel turns its head to follow the scooter. The rider stays casually serious.
Keep the scooter wheels and the camel visible during the pass. Linen and headdress flaps move naturally in the breeze. Cut immediately after the scooter clears the camel.
00:03-00:06 | FORKLIFT
One steady medium-wide shot at a pyramid construction site. A half-built pyramid rises in the background, with a small group of workers waiting beside slack hauling ropes.
A yellow industrial forklift faces a wooden stone-hauling sledge. A roughly one-metre limestone cube rests on two thick wooden support runners on the sledge, leaving clear channels beneath the stone.
At the opening, the forklift is stationary and both forks are already inserted fully through these channels beneath the block. A shaved-head Egyptian driver raises the block approximately 30 centimetres clear of the supports. The heavy block remains level and stable. A small amount of dust falls from its edges.
Beside the forklift, outside the load's path, a foreman watches the successful lift and makes one short mark on a papyrus scroll with a reed pen.
Show the lift and the foreman's reaction in the same composition. Cut after his mark. No driving, turning or additional lifting.
00:06-00:09 | JET SKI
One wide shot from a low riverbank position, looking across the Nile. Palms and the opposite bank form the background, with a distant pyramid on the horizon.
The queen is already riding a white-and-gold sit-down jet ski from screen left to screen right at a brisk speed. She sits securely astride the seat, her dress arranged clear of the controls and water intake. Her fitted diadem stays secure; only the tips of her bob and the edges of the dress move in the wind.
A small papyrus-reed fishing boat floats several metres to the side of her route. Two fishermen are aboard, one seated and one crouched while holding a fishing net. The jet ski passes without contact and continues toward screen right.
Its nearby trailing wake reaches the boat within the shot. The boat tilts once. The crouching fisherman drops backward onto the boat's low seat and accidentally releases the net's loose edge into the water. The seated fisherman grips the gunwale.
The queen remains composed and does not look back. Keep the passing jet ski and the boat's reaction readable in the same shot. Cut on the fisherman's landing; the boat may still be rocking.
00:09-00:12 | CONTACTLESS SCARAB
One medium shot beneath a linen market awning. Flatbreads, dates, onions and clay jars cover a wooden stall. Soft background movement from shoppers and a donkey carrying baskets.
A bald merchant already holds a small black contactless payment terminal near the market woman's upper chest. His other hand already supports two flatbreads.
The woman lifts her gold scarab pendant a short distance from her chest and touches it once to the terminal's upper contactless reader. The necklace is long enough for the movement and does not stretch. The pendant has a concealed NFC chip, with no visible modern markings.
The terminal shows a simple green confirmation light and makes one beep. No readable words are needed.
She releases the pendant, which falls back against her collar. The merchant immediately extends the two flatbreads, and she takes them with both hands. Both remain entirely matter-of-fact.
Cut as the bread transfer finishes.
00:12-00:16 | LEAF BLOWER
One medium-wide shot in a temple courtyard with painted stone columns.
A priest wearing a nemes headdress stands to screen left with an orange cordless leaf blower. A thin layer of loose dry sand covers the paved ground directly beside the paws of a large stone sphinx.
A second priest is already entering the background to screen right, carrying an incense bowl.
The first priest points the nozzle low and toward screen right. The blower pushes the loose surface sand off the paving. A low plume travels approximately two metres in the established direction and briefly envelops the passing priest's upper body.
The second priest stops. A light dusting remains on his face, shoulders and chest, leaving his expression clearly visible. He keeps hold of the incense bowl and gives the first priest a long, offended stare. A few grains fall from his brow.
The first priest notices him, releases the trigger and lowers the nozzle. The motor winds down quickly. Quiet courtyard ambience remains audible.
Cut on their awkward eye contact. No additional blast or repeated reaction.
00:16-00:20 | MUMMY'S BATTERY
One continuous elevated medium shot looking diagonally into an open granite sarcophagus. A gentle handheld move closer is allowed, without changing the viewing side.
The mummy is already seated INSIDE the sarcophagus, with its legs extended along the interior and its back raised against the head end. This position allows it to recline directly backward without climbing or turning.
One clay oil lamp burns on the floor to the left, close enough to cast warm flickering light across the mummy's upper body and the inner rim. Painted hieroglyphs are faintly visible on the chamber wall.
00:16-00:17.3:
The mummy scrolls once with a bandaged thumb. Hold the phone at an angle where its screen and the mummy's upper body are both readable. Cold screen light illuminates the bandages.
A simple red battery icon with "1%" appears on the phone screen, accompanied by a brief low-battery chime. This is an in-world phone display, not a video overlay.
00:17.3-00:18.3:
The mummy pauses, drops its shoulders and gives a tired muffled sigh. It presses the phone's side button once, turning the display off.
00:18.3-00:19.6:
Still holding the phone, it reclines backward into the sarcophagus. Its head settles naturally against the inner headrest. It places the dark phone flat on its chest and rests its hands beside it.
00:19.6-00:20:
Brief final hold on the mummy lying motionless, with the dark phone visible on its chest in the warm oil-lamp light. The sarcophagus remains open. End.
AUDIO
Only diegetic sound synchronized with visible actions. No music, narration, dialogue, laugh track or added comedy effects.
Scene 1: quiet electric motor, wheels over stone, camel grunt and market-distance ambience.
Scene 2: forklift motor and hydraulics, falling grit, faint construction ambience.
Scene 3: jet ski engine, water spray, wake slapping the reed hull, one brief startled fisherman vocalization.
Scene 4: subdued market chatter without intelligible words, one payment beep, bread and fabric movement.
Scene 5: blower motor and sand hiss, then the motor winding down and quiet courtyard ambience.
Scene 6: faint phone taps, one battery chime, muffled sigh and bandage rustle. Very quiet tomb ambience.
CONTINUITY AND PRIORITIES
Exactly six vignettes, each shown once, in the specified order. Total duration exactly 20 seconds.
Each vignette has one main gag. Prioritize its visible setup, action and reaction over background detail. No extra business, repeated attempts or inserted close-ups.
Maintain spatial positions and movement direction within each shot. Hands retain believable contact with controls and props. All vehicles remain supported by the appropriate surface. The forklift block remains stable on both forks. The jet ski never touches the fishing boat. The blower's sand follows the nozzle direction.
The queen and market woman remain two distinct people with different hairstyles and jewellery.
The phone remains in the mummy's hand until it is placed on the chest. Its screen stays dark after the side button is pressed. The oil lamp stays lit, and the sarcophagus never closes.
Photorealistic actors, environments and effects. No cartoon appearance, plastic skin, duplicated people, body deformation, teleportation, changing costumes, floating props or impossible object intersections.
No captions, subtitles, logos, watermarks or recording interface. The only required readable text is the small "1%" on the smartphone screen.
🤝 Paid partnership · 🤖 Made with AI
Trixi retweeted
Is this real street footage or are people literally hiding superpowers now?!
Seedance 2.5 on @makeugc
Promt:
20-second ultra-realistic Korean urban action short, gritty live-action thriller style. Set in a narrow wet brick alley in Seoul, South Korea. Supernatural psychic combat, realistic physics, spectacular cinematic effects. NOT anime, cartoon or video game.
MAIN CHARACTER: The same young Korean woman throughout, long platinum blonde hair with vivid pink streaks, wearing a white tank top, denim shorts, small black crossbody bag and white sneakers. Natural skin texture, consistent face and outfit.
EXACT ORDER — 6 SCENES:
0–4s — CORNERED:
The woman is trapped against a red-brick wall, head down, blonde hair with pink streaks covering her face. Four men in dark hoodies and jeans surround her, laughing aggressively. The biggest man leans toward her with a cruel grin. Tight handheld close-ups.
4–6s — FIRST SHOCKWAVE:
She suddenly raises her palm. An invisible psychic blast hits the biggest man's face. His cheeks distort in slow motion, water droplets explode outward, and the other men freeze in shock.
6–8s — AWAKENING:
Extreme close-up of her eyes as fear transforms into determination. Low-angle shot: she extends her palm toward the attackers. Blue-white energy subtly flickers around her hand.
8–15s — THE FIGHT:
Explosive fast-paced choreography. She delivers powerful high kicks and palm strikes against all remaining attackers in a clearly readable sequence. Every impact creates a translucent blue-white shockwave. Men fly backward into dumpsters and brick walls. Paper, dust and water burst into the air. Dynamic tracking shots, whip pans and speed ramps.
15–17s — FINAL KICK:
Spectacular slow-motion side kick hits the last attacker. A massive transparent glass-like energy dome expands through the alley, scattering glowing particles and paper fragments.
17–20s — AFTERMATH:
Wide symmetrical cinematic shot. The woman stands alone, calm and powerful, palms open. Her blonde hair with pink streaks moves gently in the breeze. Dust and mist drift beneath a glowing street lamp. Complete silence.
CONTINUITY:
Exactly the same woman, four men, outfits and alley throughout. No face changes, no outfit changes, no teleporting, no disappearing props. Preserve character identity and action order.
ENVIRONMENT:
Narrow wet Seoul alley, red-brick walls, grey paving stones, puddles, overhead wires, old Korean shop signs, dumpsters, teal garbage bags and scattered paper. Cool teal-grey cinematic colour grade.
CAMERA:
Ultra-realistic handheld cinematography, dynamic push-ins, tracking shots, whip pans, speed ramps, shallow depth of field, realistic motion blur, subtle film grain, natural skin texture.
SOUND:
Deep bass impacts, powerful air-pressure booms, sharp whooshes, distant Seoul traffic, light rain and dramatic cinematic sound design.
FINAL FEEL:
A brutal, visually spectacular supernatural revenge scene. A seemingly helpless blonde woman with pink hair streaks reveals terrifying psychic powers. Every strike must be clearly visible. Photorealistic live-action quality. No text, no subtitles, no watermark.
#Seedance #aivideo
🤝 Paid partnership · 🤖 Made with AI
They bullied her because they thought she was weak.
Seedance 2.5 on @makeugc
They had NO idea who they were messing with. 🔥
Never mistake a quiet Korean girl for an easy target.
Trixi retweeted
This AI video shows why girls live shorter lives than boys
Created by Seedance 2.5 on @makeugc
Prompt
A 15-second vertical (9:16) REAL smartphone POV video, indistinguishable from authentic rooftopping footage, filmed on the edge of an unfinished concrete skyscraper at sunrise. The camera operator holds the hand of a young woman in a gold sequin gown standing on a narrow steel beam 300 metres above a city. She lets go, JUMPS across a 1.5-metre gap onto the steel lattice mast of a construction hoist, climbs up and disappears into an open window opening. The video ends on a sharp tilt down into the 300-metre drop as the operator reaches his empty hand toward the empty beam.
MAIN SUBJECT: use the reference image for her face, hair and outfit. Real woman in her mid-20s, long wavy blonde hair, blue eyes, light tan skin, athletic toned build with subtle muscle definition. Realistic skin texture with visible pores, fine baby hairs, slight shine from wind and effort, no makeup-ad smoothness. She wears a long fitted gold sequin evening gown with thin straps, a wrap front and a high slit on one side; the gown is lined, dense, heavy and OPAQUE, stays in place on her body, and moves with real weight and drag in the wind. The sequins catch small warm reflections of the low sun, no glitter sparkle effects. Gold strappy high-heel sandals with ankle straps, slightly scuffed. Hair loose, tangled by real wind gusts.
LOCATION AND GEOMETRY: the top floors of a real unfinished concrete skyscraper, 300 metres above the ground.
- THE SLAB: a dusty concrete floor slab where the operator stands at the open edge.
- THE BEAM: a narrow rigid grey steel I-beam about 30 cm wide sticking out 2 metres from the slab edge, scratched paint, rust spots, dust. She stands on it about 1 metre from the slab edge, within arm's reach of the operator.
- THE MAST: a vertical grey steel lattice mast of a construction hoist bolted to the facade with rusty bolts, 1.5 metres to the RIGHT of where she stands, with open horizontal and diagonal steel bars.
- THE PANEL: ONE flat grey steel panel about 1.5 metres wide and 2 metres tall bolted to the front face of the mast. Its bottom edge is level with the beam, its top edge is 2 metres above the beam (at her raised-hand height) and is a 10 cm wide steel frame. The lattice bars of the mast stay exposed on the LEFT side of the panel.
- THE WINDOW: a small steel hoist landing platform sits behind the panel top, level with it, and leads into a dark rectangular window opening in the raw concrete facade.
Facade: raw grey concrete with water stains, formwork marks and rows of empty square window openings. Far background: a real city spread to the horizon 300 metres below, soft morning haze lying between the buildings, streetlights already off, a few early cars on the streets. Clear pale morning sky with a few thin clouds, the sun just above the horizon on the LEFT side of the frame. The drop and the city stay visible in every shot.
CAMERA AND LOOK: one continuous handheld POV shot filmed on a smartphone held in the operator's left hand, 24 fps, wide phone lens with slight edge distortion. Real hand shake that gets stronger during the jump, imperfect framing that briefly loses her and finds her again, auto-exposure adjusting when the sun enters the frame, a faint natural lens flare when the camera points toward the sun, slight delayed autofocus, mild compression artifacts, faint noise, muted contrast. ONE light source: the low rising sun from the left, giving warm golden side light on her face, arms and the concrete, long soft shadows to the right, natural warm skin tone. No glossy beauty lighting, no artificial rim light, no heavy grading, no cinematic look. The operator never steps onto the beam. His body is never visible except his right forearm and hand.
CONTINUOUS STORY:
00:00-04:00 THE HAND. First frame already in motion: the operator's right hand firmly holds her right hand, his arm stretched from the slab edge, his grip tense. She stands sideways on the steel beam 1 metre out, heels on the steel, weight shifting slightly for balance, gown and hair pushed by the wind, the low sun lighting one side of her face. She glances down at the drop, then to her right at the hoist mast and panel, takes one deep breath, then looks back at the camera with a calm small smile.
04:00-07:00 THE JUMP (a real JUMP, not a step). Her fingers slide out of his hand. Push-off: she bends her knees, swings her arms back and springs off the beam diagonally to the right and slightly upward, both feet leaving the steel. Flight: half a second over the open 300-metre drop, arms reaching up and forward, gown dragging behind, the slit letting her legs move freely, the hazy morning city visible below her. Landing: BOTH hands slap onto the steel frame on top of the panel, her body weight swings hard into the mast with real momentum, her heels hit the exposed lattice bars on the left side of the panel, one heel skids, then both find footing. ONE clear contact.
07:00-11:00 THE CLIMB. She hangs from the panel top with straight arms, knuckles whitening, forearms and shoulders straining and trembling slightly. One heel slips off a lattice bar and her leg swings over the drop for a second, then she replaces her foot on the bar. She pulls herself up with visible effort, puts one knee on the 10 cm steel frame on top of the panel, the gown catching on the edge for a moment, then climbs over onto the hoist landing platform behind it.
11:00-13:00 THE WINDOW. Crouching, she steps from the platform through the dark rectangular window opening and disappears inside. The grey panel stays still on the mast.
13:00-15:00 THE DROP. The operator stretches his empty right hand toward the empty beam, fingers slightly shaking. The camera tilts sharply down past the beam: 300 metres of sunlit concrete facade and lattice mast running down to tiny streets in morning haze with a few moving cars. Frame ends here.
SOUND: natural sound only, recorded by the phone microphone with wind buffeting. Strong wind gusts, fabric flapping, her heels tapping on steel, a short sharp breath at push-off, a metallic clang when her hands and heels hit the panel and the mast, her heavy breathing during the climb, a quiet distant morning city hum far below, the operator's sharp inhale at the end. No music, narration, voiceover.
ESSENTIAL CONTINUITY: one continuous POV shot, no cuts. The slab, beam, mast, panel, platform and window keep the same positions throughout; the mast is always to her right. She JUMPS, both feet leave the beam, with push-off, flight and landing and real weight and momentum; she never steps across. She never passes through the panel or the mast. The panel and beam are rigid and fixed. She never falls and never touches the ground. The operator never leaves the slab. Same sunrise light with the sun on the left, same city, same building throughout. Preserve her face, hair, gold sequin gown and gold strappy heels throughout.
No repeated attempts, slow motion, teleportation, duplicated people, changing outfits, see-through fabric, stepping instead of jumping, AI look, smooth plastic skin, perfect symmetry, floaty or weightless physics, CGI appearance, cinematic grading, captions, subtitles, text overlays, watermarks, recording interface.
🤝 Paid partnership · 🤖 Made with AI
Trixi retweeted
OMG, look who I ran into at the gym 😭
Made with Seedance 2.5 on @makeugc using my character reference from the quoted post + the original meme images.
PROMPT ⬇️
Create a 17-second photorealistic gym vlog, landscape 16:9. MILA discovers famous meme characters at her gym, rapidly switching between their recognizable actions and her own spontaneous selfie reactions.
Match the photographic realism, MILA’s appearance, lighting and handheld filming of video1. The pacing is fast, funny and energetic.
REFERENCES
video1 — MILA’s exact identity, face, body proportions, voice, blue outfit, gym lighting and natural vlog performance.
image1 — Roll Safe: exact face, black leather jacket, gold watch, haircut, knowing smile and finger-to-temple gesture.
image2 — Hide the Pain Harold: exact face, white hair, beard, checked shirt and strained polite smile. Do not include his telephone.
image3 — Salt Bae: exact face, white fitted V-neck T-shirt, round dark sunglasses, tied-back hair and signature sprinkling gesture.
image4 — Confused Nick Young: exact face, white T-shirt, head angle and puzzled expression. Do not include the printed question marks.
image5 — Disaster Girl PORTRAIT CROP: use only the girl’s exact face, hair, visible clothing and subtle knowing smirk. This is an identity reference only. The final environment comes exclusively from the gym in video1.
Each image defines a separate character. Use their identities, clothing and expressions, not their original locations. The photographs never appear as photographs on screen.
CAMERA
DV 16mm tape camcorder handheld feel. POV of MILA holding the camera herself. Natural arm’s-length MEDIUM CLOSE-UP selfies alternate with outward-facing shots of nearby gym visitors.
MILA holds the camera slightly farther from her body, with her filming arm comfortably extended. Frame her from the top of her head down to her upper waist: her face, shoulders, ENTIRE blue sports bra including its lower band, full bust and a little bare midriff are visible together. Keep the lower frame edge below the sports bra. The camera is around face height with a slight downward tilt and a natural perspective. This is a close, engaging vlog composition, not a tight face-only crop. Use this same framing for the opening and EVERY selfie reaction. No zooms into MILA’s face.
Hand shake, slightly misaligned framing, delayed focus pulls, clumsy zooms toward the meme characters, imperfect shots. Keep MILA’s face and entire sports bra within her selfie frame. Camcorder never appears on screen or in reflections.
The opening selfie leads into an immediate outward camera turn and quick zoom toward the first meme. Later selfie reactions are brief vlog jump cuts. Use short motivated pans or quick cuts to reveal the next person. Do not spend time showing MILA walking between locations or slowly rotating the camera.
Each zoom quickly lands on a readable face and gesture. Keep enough stability to recognize the meme. No floating camera, cinematic orbits or slow-motion coverage.
LOOK
Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones.
Match video1 closely. Preserve believable skin texture, fabric, weight and physical movement. Natural photographic imperfections without heavy VHS effects, plastic skin or a CGI appearance.
STYLE AND PACING
Playful, spontaneous gym-vlog humor. MILA is excited, amused and increasingly baffled. Her reactions change with each discovery: raised eyebrows, suppressed laughter, an incredulous look, then sudden surprise.
Reveal each meme character ALREADY IN THE RELEVANT ACTION. Do not show a complete exercise setup, multiple repetitions or a long buildup. Each appearance quickly arrives at the recognizable gesture or expression.
In every selfie reaction, MILA is already looking slightly off-camera toward the character she has just shown when the shot begins. Her head and eyes then make a small, quick return toward the lens, as if sharing her reaction with the viewer. Match the look direction to the previous character’s position; do not repeat the same left/right direction mechanically. Avoid continuous direct-to-camera staring. Her torso and selfie framing remain steady during these small head movements.
MILA speaks only in the opening shot. All subsequent reactions are visual. No explanatory dialogue, narration, meme captions, question-mark graphics or freeze frames.
All camera turns, zooms and transitions are included within the shot timings below. Do not add transition time or extend the video.
CHARACTER
MILA — a beautiful American Instagram-style brunette model and performer, 20. Long dark-brown hair in a high ponytail, natural skin texture with a light sweat sheen, glossy lips, expressive eyes, soft glam makeup and delicate sparkly stud earrings. Slim athletic figure with a very large, full bust, very full rounded buttocks, a narrow waist, flat stomach, lean arms and slender legs.
She wears a cobalt-blue supportive sports bra with thin straps and a deep scoop neckline showing cleavage, paired with matching ultra-short fitted athletic shorts. Bare shoulders, arms and midriff. White ankle socks, sneakers off. She speaks with an American accent.
Preserve her exact face, full bust, body proportions and blue outfit from video1 in every selfie shot.
SETTING
One ordinary gym in the evening: rubber flooring, exercise mats, mirrors, dumbbell racks, workout benches, cable machines and a small drinks counter with protein tubs and shakers. Soft overhead lighting matching video1.
All characters occupy nearby areas of this same gym. They retain the recognizable clothing from their image references.
The entire video, INCLUDING THE FINAL FIRE SCENE, stays inside this gym. Keep the same mirrored walls, overhead gym lighting, rubber floor, benches and metal exercise machines visible in the final shot. The fire burns padded gym equipment within this already established room. No location change or outdoor scene.
STORYBOARD — EXACTLY 17 SECONDS
1. 0.0–2.5s — MILA’S HOOK
Start immediately on the natural arm’s-length medium close-up described above: MILA’s full face, shoulders, full bust in the ENTIRE blue sports bra, its lower band and her upper waist are all visible. The gym remains visible behind her. Keep the camera far enough away to maintain this framing throughout the opening.
Slightly breathless after exercising, she looks into the lens with excited disbelief and says:
“Look who’s at my gym!”
As she finishes, she immediately turns the camera outward toward the dumbbell rack. Her delivery is lively and conversational, with no introductory pause.
2. 2.5–5.0s — ROLL SAFE
The camera turns and quickly zooms toward the exact man from image1, still wearing his black leather jacket and gold watch.
He is ALREADY finishing a dumbbell curl with his LEFT hand when the camera finds him. He lowers the dumbbell beside his thigh, looks into MILA’s lens and immediately touches his temple with his free RIGHT index finger.
Catch the exact familiar knowing smile and finger-to-temple pose. Hold it briefly, with natural breathing and tiny facial movement. The dumbbell remains in his other hand. No additional repetition or dialogue.
3. 5.0–5.5s — MILA’S FIRST REACTION
Quick medium close-up selfie cut, keeping MILA’s face, full bust and entire blue sports bra visible. Her head is already angled slightly toward Roll Safe off-camera. She raises her eyebrows in delighted disbelief, then brings her gaze and head gently back toward the lens.
One clear reaction, no speech.
4. 5.5–8.0s — HAROLD
Quick cut to the exact older man from image2, sitting on a nearby workout bench in his original checked shirt.
He is ALREADY struggling through the last part of a dumbbell curl. He rests the weight on his thigh, looks toward MILA’s camera and immediately forces the unmistakable Harold smile: politely smiling mouth, tired eyes and visible effort he is trying to hide.
A small camera push-in makes the expression readable. Natural breathing and a slight hand tremor. No telephone or lengthy exercise sequence.
5. 8.0–8.5s — MILA HOLDS BACK LAUGHTER
Quick medium close-up selfie with the same face-to-upper-waist framing. MILA is already looking slightly toward Harold off-camera. She presses her lips together to suppress a laugh, then makes a small head-and-eye turn back to the lens.
No speech.
6. 8.5–11.0s — SALT BAE’S PROTEIN
Quick reveal of the exact man from image3 at the gym’s drinks counter, preserving his white fitted T-shirt, sunglasses and tied-back hair.
He ALREADY has a pinch of white protein powder raised when the camera finds him. He immediately performs his famous sprinkling gesture: elbow raised, wrist bent downward, powder trickling past his forearm into an open shaker.
The shaker’s opening is directly beneath the falling powder. Keep his face, signature arm position and shaker visible together. He performs the absurd ritual with complete seriousness.
A brief clumsy zoom emphasizes the gesture. Real powder and gravity, with only a small natural dusting.
7. 11.0–11.5s — MILA’S INCREDULOUS LOOK
Quick medium close-up selfie with her full face and entire sports bra visible. MILA initially looks slightly toward Salt Bae off-camera, eyebrows raised and mouth slightly open. She then turns her head and eyes back toward the lens, silently communicating: “Are you seeing this?”
No speech.
8. 11.5–13.5s — CONFUSED NICK YOUNG
Quick pan to the exact man from image4 beside a nearby cable machine, wearing his white T-shirt.
He has just seen the protein ritual. As the camera lands, he turns toward the lens, pulls his head back slightly, squints and makes the exact familiar puzzled half-smile.
A quick push-in catches the recognizable expression. No floating question marks, text or dialogue.
9. 13.5–14.0s — MILA NOTICES THE FINAL SURPRISE
Quick medium close-up selfie, preserving the face-to-upper-waist framing. MILA is already looking slightly off-camera toward the area beside Nick Young. Her eyes widen as a warm flicker catches her attention. She makes a brief head-and-eye return toward the lens, then immediately starts turning the camera toward the flicker. No speech or prolonged reaction.
10. 14.0–17.0s — DISASTER GIRL INSIDE THE GYM
The camera turn reveals the exact girl from image5 in the RIGHT foreground, filmed near her eye level.
Deeper in the LEFT background, the SAME INDOOR GYM FROM video1 remains visible: its mirrored wall, rubber floor, overhead ceiling lights, workout benches and metal machine frames. Flames visibly rise from the upholstery of a workout bench and adjacent padded gym equipment INSIDE THIS ROOM. Smoke rises toward the gym ceiling; orange firelight reflects in the same mirrors. Preserve the established gym architecture throughout the shot. image5 supplies only the girl’s identity and expression; it supplies no background or location.
The girl is already looking toward the fire when the shot begins. She immediately turns her head back over her shoulder toward MILA’s camera and forms the exact subtle, knowing half-smile from image5.
Match her recognizable face angle, relaxed eyelids and hair beside her cheek. No broad grin or laughter.
Her face remains large in the right foreground while the burning equipment stays clearly visible behind her on the left. Keep a clear foreground gap between her and the distant flames.
Hold the final smirk for approximately the last second, with natural breathing, handheld tremor and flickering fire. End immediately on this image. No final selfie, explanation, explosion or injury.
AUDIO
MILA’s natural American voice and lively delivery match video1. Her only spoken line is:
“Look who’s at my gym!”
Natural gym ambience, breathing, small equipment sounds and subtle camera-handling noise. Fire crackling becomes audible during the final reveal.
No background music, laugh track, added meme sound effects or other dialogue.
CONTINUITY
Maintain MILA’s exact identity, body proportions and outfit across every selfie reaction. Keep her face, full bust and entire blue sports bra visible in the consistent medium close-up framing. Each reaction begins with her looking toward the previous character before she briefly reconnects with the lens. Each meme character retains their own reference face, clothing and recognizable expression.
Keep objects in the correct hands and movement physically believable. No morphing between people, duplicated limbs or changing faces.
Preserve the fast rhythm: MILA → meme → MILA reaction → next meme. Each character is caught mid-action, with no unnecessary setup. All scenes remain inside the same gym. Disaster Girl is the final shot.
#AIVideo
🤖 Made with AI
Made with Seedance 2.5 on @makeugc (native 15-second video, no editing)
PROMPT ⬇️
**CAMERA:**
DV 16mm tape camcorder handheld feel. POV of MILA holding the camera herself, occasionally propping it on the floor or a mat for hands-free core shots. Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. Camcorder never appears on screen.
**LOOK:**
Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones.
**STYLE:**
Playful, self-deprecating gym-vlog tone — genuine strain mixed with humor, complaining about core work while still pushing through it. Quick handheld cuts, energy staying light and funny throughout rather than fully exhausted.
**Character**
MILA — a beautiful American Instagram-style brunette model and performer, 20. Long dark-brown hair in a high ponytail, glowing skin with a light sweat sheen, glossy lips, expressive eyes, soft glam makeup and delicate sparkly stud earrings. Slim athletic figure with a very large, full bust, very full rounded buttocks, a narrow waist, flat stomach and lean arms and legs.
She wears a cobalt-blue supportive sports bra with thin straps and a deep scoop neckline showing cleavage, paired with matching ultra-short fitted athletic shorts. Bare shoulders, arms and midriff. White ankle socks, sneakers off. She speaks with an American accent.
**Setting**
A gym mat area in the evening — mirror wall nearby, water bottle on the floor, soft overhead lighting, other equipment visible in the background.
**Storyboard (15s, 6 shots)**
1. *(~2.5s, propped camera, medium shot)* She lies down on the mat, propping up on her elbows, already sighing dramatically. MILA: “Core day. Pray for me.”
2. *(~2.5s, propped camera, plank position)* She holds a plank, arms shaking slightly, talking through gritted teeth. MILA (strained): “Why am I shaking already?”
3. *(~2.5s, medium propped shot, crunches)* She moves into a set of crunches, breathing hard, complaining between reps. MILA: “This looked way easier online.”
4. *(~2s, macro insert, shallow DOF)* Close-up on her hands gripping the mat edges during a leg raise, abs visibly working. No dialogue — ambient gym sound only.
5. *(~2.5s, handheld, leg raises)* She finishes a slow leg raise set, flopping back onto the mat immediately after, laughing at herself. MILA (breathless): “Yep—my abs just quit.”
6. *(~3s, arm’s-length selfie finish)* Still lying on the mat, she lifts the camera above her face (camera no visible), grinning tiredly. MILA: “Same time tomorrow? No promises.”
#AIVideo
Trixi retweeted
This Pixar-style AI cartoon proves that a good bite on the butt makes for a happier marriage.🥰
Created by WAN 3.0 on @makeugc
And how do you show your love to your partners?
Prompt:
A warm Pixar-style 3D animated comedy-romance clip, 10 seconds, vertical 9:16 format. A bearded young man at a kitchen table is dreamy-eyed watching his girlfriend cook, his eyes burst into sparkles, he sneaks up behind her and gives her a playful cartoon chomp on the backside, she jumps in shock, and the clip ends on a warm hug and kiss in the kitchen.
MAIN SUBJECTS
HIM: Pixar-style animated man, about 30 years old, athletic broad build, short dark brown hair with a faded undercut, short groomed dark beard, large expressive brown eyes with thick lashes, fitted black crew-neck long-sleeve sweater, dark trousers.
HER: Pixar-style animated woman, about 28 years old, athletic toned build, brown hair in a loose messy bun with loose strands at the face, large expressive brown eyes with long lashes, small gold earrings, fitted dusty-mauve short-sleeve ribbed top, light cream loose lounge trousers made of thick opaque fabric.
Both have smooth stylized skin, soft rounded facial features, exaggerated cartoon expressions, dense opaque fabric that stays in place.
LOCATION
A cosy modern apartment kitchen in the evening. FOREGROUND: wooden dining table with a bowl of pasta with green vegetables, a black mug, a phone, a woven placemat, a small burning candle, a bowl of red berries. MIDGROUND: stainless steel gas stove with a frying pan, light wooden cabinets, warm under-cabinet strip lights, white tile backsplash, wooden utensils in a jar, a small potted plant. BACKGROUND: window showing a deep-blue dusk sky with soft city lights, fridge covered with small polaroid photos and a sticky note. Background stays visible in every wide and medium shot.
CAMERA AND LOOK
Pixar-quality 3D animation: soft subsurface skin shading, detailed hair strands, rich textures (wood grain, knit fabric, brushed steel, ceramic). Single warm golden-hour interior light from the lamps and under-cabinet strips, soft shadows, cozy amber tone, shallow depth of field with gentle bokeh. Gentle cinematic camera moves, subtle push-ins on close-ups. Shot lengths 1-2 s, cut only after a completed gesture. The camera and any crew never appear in frame.
CONTINUOUS STORY
00:00-02:00 THE DAYDREAM. Already in motion: medium-wide three-quarter shot. He sits at the table, chin resting on his fist, a fork in his other hand, smiling softly at her. She stands at the stove with her back to him, stirring the pan, her head tilting with a happy little hum. Steam rises from the pan, candle flame flickers.
02:00-03:30 THE REACTION. Close-up on his face: eyes widen slowly, eyebrows lift, lips part, his chin slips off his fist. His cheeks flush warm pink.
03:30-04:30 THE DROP. Tight insert on the table: his fingers loosen and the fork slides out, drops onto the placemat and bounces once with a small clink beside the pasta bowl.
04:30-06:00 THE SPARKLE. Extreme close-up on his face: his brown eyes fill with glittering golden four-point star sparkles, tiny sparkles float around his forehead, a slow mischievous smile spreads under the beard.
06:00-07:30 THE CHOMP. Medium shot, side angle: he has risen from the chair, tiptoes up behind her, bends forward with wide cartoon eyes and a comically open mouth, and gives ONE playful chomp on the seat of her thick cream trousers. A burst of golden sparkles pops from the contact point and scatters across the stove and his black sweater. Her whole body jolts upward, the spatula flies up a little and the pan rattles on the burner.
07:30-08:30 THE STARTLE. She spins around, eyes wide, mouth open in a shocked gasp, a few loose hair strands bouncing, one hand pressed to the counter. Quick cut to his face: sheepish, eyebrows pinched, an embarrassed little grin with a crooked smile.
08:30-10:00 THE MELT. Medium shot: her shocked face softens into a laugh, she wraps her arms around his neck, he hugs her close and they share a warm kiss, eyes closed, as the pan simmers behind them. Freeze on the kiss, candle glow and sparkles drifting in the air.
SOUND
Natural kitchen sounds only: soft sizzling of the pan, her light humming, a fork clink on the placemat, a small twinkling shimmer when the sparkles appear, soft footsteps, a cartoon chomp, a sharp gasp, a short giggle, a gentle kiss sound. No music, no narration, no laugh track.
ESSENTIAL CONTINUITY
Same two characters, same outfits (his black crew-neck sweater, her dusty-mauve ribbed top and cream lounge trousers), same hairstyles, same warm evening light and same kitchen layout in every shot. Chronological order: daydream, reaction, drop, sparkle, chomp, startle, melt. ONE chomp only, played as a harmless slapstick gag, her trousers stay opaque and in place. The fork falls to the table and stays there. Sparkles are soft golden four-point stars only. Characters never pass through furniture or each other. Preserve both faces, hair, outfits throughout.
No repeated chomps, slow motion, teleportation, duplicated people, changing outfits, realistic live-action look, captions, subtitles, text overlays, watermarks, recording interface.
🤝 Paid partnership · 🤖 Made with AI